St. Lawrence String Quartet

Monday, April 4, 2005
7 pm. Walter Hall

University of Toronto Faculty of Music
Chamber Music Series
Presents

St. Lawrence String Quartet

Geoff Nuttall, violin
Barry Shiffman, violin
Lesley Robertson, viola
Christopher Costanza, cello

PROGRAM
Doubles (2004) - Canadian Premiere Jonathan Berger
b.1954
Introduction and Allegro Maurice Ravel
for flute, clarinet, harp and strings 1875-1937
With Judy Loman, harp; Amy Lin, flute: Cecilia Kang, clarinet
INTERMISSION
String Quintet in D major, K.593 Wolfgang A.Mozart
Larghetto - Allegro - Larghetto 1756-1791
Adagio
Menuetto (Allegretto)
Finale (Allegro)

With Scott St. John, viola

THE FACULTY OF MUSIC GRATEFULLY ACKNOWLEDGES THE GENEROUS SUPPORT OF OUR SPONSORS

Nal ra r Meloche Monnex
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einai ieee The University of Toronto

The latest recording by the St. Lawrence String Quartet, AWAKENING, featuring
string quartets by Christos Hatzis is available for sale in Walter Hall lobby.
All proceeds will be donated to the Lorand Fenyves Residency Program.

Guest Artists of the Chamber Music Series are funded through the
Visiting Chamber Ensembles program at the Faculty of Music.

The photographing, sound recording, or videotaping of this performance without the
written permission of the Faculty of Music is strictly prohibited.

We kindly request that you switch off your cellular phones, pagers, watch beepers, and any
other electronic devices that could emit a potentially unwelcome sound.

Program Notes

Doubles
JONATHAN BERGER

Doubles recalls songs of peace, freedom
and resistance that were influential in my
youth. Some of the references are readily
identifiable, others obscured.

The title ‘Doubles’ refers to the
seventeenth century practice of pairing a
short piece with a highly embellished
version of itself. The doubles in the quartet
consist of three pairs of ornamentl
variations. In each double a new theme
emerges. This theme is itself ornamented in
the subsequent section, thus creating two
simultaneous shifted sets of doubles.

The work was commissioned by the
Hudson Valley Chamber Music Circle for
the St. Lawrence String Quartet.

-Jonathan Berger

Jonathan Berger

The premier of Doubles marks Jonathan
Berger’s fifth collaboration with the St.
Lawrence String Quartet. The SLSQ
commissioned his earlier quartet, Miracles
and Mud, and performed the work over
sixty times. Berger’s setting Eli Eli was
included in SLSQ’s tour with the Pilobolus
dance company. His arrangement of Deep
River marked the quartet’s memorial for the
victims of 9/11 in their first performance
after the tragedy. Berger’s commission for
music for the dedication of the Clark Center
at Stanford marked the SLSQ’s first
interaction with electronic music.

Berger has composed symphonic works,
three concerti, works for all varieties of
chamber ensemble, vocal, choral and
electroacoustic works. Among his awards
and commissions are three fellowships from
the National Endowment for the Arts,
prizes from ASCAP, commissions from
WDR, and prizes from the Bourges
Festival. His works are available on Sony,
Neuma, CRI and Harmonia Mundi labels.
Berger’s works for string quartet are
currently being recorded by the St
Lawrence String Quartet.

Introduction and Allegro for Harp Solo,
Flute, Clarinet and Strings

MAURICE RAVEL

Born in Ciboure, France, in 1875

Died in Paris in 1937

During the first five years of the twentieth
century, Maurice Ravel’s budding career
took two contradictory directions. On one
hand, he achieved critical success through
such works as his String Quartet in F and
his Pavanne pour un infante défunte. On
the other hand, he failed three times,
between 1900 and 1905, to win the
prestigious Prix de Rome. His exclusion
from the prize by judges at the Paris
Conservatoire eventually erupted into a
public controversy: the scandale led to the
resignation of the Conservatoire’s director
and, ironically, made Ravel famous.

Thus, in 1905 the instrument-
manufacturing firm of Erard turned to the
well-known young composer to write a
piece for harp. Erard had a need for new
music for the double-action pedal harps that
the company built: in 1896 the rival firm of
Pleyel, Wolff and Company had introduced
a fully chromatic harp — and in 1904
commissioned Debussy to compose his
Danse sacrée et dance profane for the new
instrument. The firm of Erard wanted a
composition that would demonstrate that
the double-action harp was still suitable for
modern music.

Ravel took to the task with enthusiasm.
“I have been terribly busy,’ he wrote to a
friend, “the reason being a piece for the
harp commissioned by the Maison Erard.
Eight days of strenuous work and three
sleepless nights permitted me to complete it
the best I could.”

Creating a work that lies halfway
between a concerto and chamber music,
Ravel gave his unique composition the
somewhat misleading title, /ntroduction and
Allegro. To be sure, there is an introduction,
with thematic material stated in the
woodwinds and then in the strings. But in
the “allegro” which follows, tempo is a
constant state of flux, as the two opening

VISITING CHAMBER
GROUPS AT THE
FACULTY OF MUSIC

Students learning from the world’s best

Our chamber music program is thriving thanks to
our work on stage and in the classroom as well. For
the stage, we have this acclaimed Monday evening
Chamber Music Series. For the classroom, we
continue to build our Visiting Chamber Groups
program. This program would see five renowned
chamber ensembles at the Faculty annually, each for
several days of masterclasses, ensemble coaching and
a guest performance as part of our Chamber Music
Series. The St. Lawrence String Quartet is at present
the only chamber group currently engaged by the
Faculty of Music as regular visiting artists. We are
determined to retain our association with this
quartet and secure additional arrangements with
one more string ensemble, a piano chamber group
(like the Gryphon Trio), one wind quintet, and a

brass group.

To learn more about how your financial support can
help make this academic priority a reality, please
contact Marilyn Brown at 416-946-3145.

themes are expanded and transformed.
Through masterful orchestration, Ravel
makes dazzling use of his “accompanying”
instruments’ colouristic possibilities:
pizzicato and muted effects in the strings,
and shimmering tremolos in the
woodwinds. The harp part is full of lush
chords, delicate harmonics and sweeping
glissandi (well suited to the double-action
harp). A series of short, solistic passages for
the harp throughout the piece culminates in
a cadenza, in which both themes are
touched upon.

Disaster was narrowly averted when
Ravel accidentally left the score to the
Introduction and Allegro in a tailor’s shop.
Fortunately the work was retrieved, and
premiered in February 1907 at a Cercle
Musicale concert in Paris by the harpist
Micheline Kahn.

String Quintet in D Major K. 593
WOLFGANG AMADEUS MOZART
Born in Salzburg in 1756

Died in Vienna in 1791

The writer Paul Roussel has described the
year 1790 as “the least prolific in Mozart’s
entire life,” pointing out that the composer
completed no works between June and
December of that year

The year was also one of Mozart’s
most unhappy — marked by professional
disappointment and financial problems. He
was pointedly excluded from the musical
events surrounding the marriage
celebrations of archdukes Franz and
Ferdinand in Vienna, and was not invited to
the coronation of Leopold II, in Frankfurt
am Main in October. Undaunted, he set out
for German city anyway, in search of such
work as he could find. He gave several
concerts on this journey, but they were not

financially successful, and he returned to
Vienna no better off than when he left.

It was not until the year’s end that
Mozart returned to the business of
composing. In December he completed his
String Quintet in D Major K. 593 (and also
a fantasia for a mechanical organ). While
there is some debate as to whether he began
work on his string quintet before his trip to
Frankfurt, or wrote the whole piece during
the Christmas season, it is known that the
work was commissioned by a Hungarian
merchant and amateur musician, Johann
Tost.

This piece is one of six string quintets
that Mozart composed — mostly in the last
five years of his life. In this genre he was
preceded by Luigi Boccherini. But whereas
the Italian composer’s quintets are all
scored for a traditional string quartet plus
an additional cello, Mozart’s all contain an
extra viola.

The quintet opens with structurally
complex movement: a cross between a
sonata and rondo that is often
contrapuntally intricate. The movement
ends abruptly, with a recapitulation of the
slow introduction, followed by a few
measures of the first theme. The second
movement, marked “Adagio,” is in a clearly
delineated sonata form, with its first theme
in G major and its second in D minor. The
development section is notable for its
advanced “dissonant” harmonies. The third-
movement minuet is also sophisticated:
rich, polyphonic sonorities contrast with
light, pizzicato-accompanied textures. The
finale is in sonata form, cast in a lively 6/8
metre. Again, this piece is highly
contrapuntal and chromatic — and
remarkably fluid in its part-writing, with
thematic material shared amongst all five
instruments.

f

Copyright Colin Eatock 2005

Biographies

Having walked on stage together over 1500 times
in the past fifteen years the ST. LAWRENCE
~STRING QUARTET has established itself
among the world-class chamber ensembles of its
generation. In 1992, they won both the Banff
International String Quartet Competition and
Young Concert Artists Auditions, launching them
on a performing career that has brought them
across North and South America, Europe and
Asia.

The long awaited initial recording of the
St. Lawrence Quartet, Schumann's First and
Third Quartets, was released in May 1999 to
great critical acclaim. The CD, first in a series
with EMI Classics, received the coveted German
critics award, the Preis der Deutschen
Schallplattenkritik, as well as Canada's annual
Juno Award, granted by the Canadian Academy
of Recording Arts and Sciences for "Best
Classical Album: Solo or Chamber Ensemble."
BBC Music Magazine gave the recording its
"highest rating," calling it the benchmark
recording of the works. In October of 2001, EMI
released their recording of string quartets of
Tchaikovsky. In 2002 their recording
Yiddishbbuk featuring the chamber music of the
celebrated Argentinean-American composer
Osvaldo Golijov received two Grammy
nominations.

Highlights of the 04/05 season include an
invitation by the Emerson Quartet to perform the
Mendelssohn Octet at Carnegie's Zankel Hall,
and a performance of R. Murray Schafer's “Four
Forty” with the Toronto Symphony. They will
ippear (among many other venues) in Chicago,
Denver, La Jolla, Pasadena, San Antonio,
Kansas City, Vancouver, and Montreal, along
with their annual European tour.

The SLSQ has been involved in numerous
inventive collaborations, including a 2003 project
with the renowned Pilobolus Dance Theatre,
which premiered at Stanford University.

The quartet's summer calender featured
their |Oth year as Resident Quartet to the Spoleto
USA Festival in Charleston, SC. Other summer
festival appearances included Napa and Sonoma,
CA (at the invitation of Jeffrey Kahane), Ottawa,
Maverick Concerts, and the Rockport festivals
(both MA and ME).

The foursome regularly delivers traditional
quartet repertoire, but is also passionately
committed to performing and expanding the
works of living composers. Among those with

whom the St. Lawrence Quartet currently has
active working relationships are R. Murray
Schafer, Osvaldo Golijov, Christos Hatzsis,
Jonathan Berger Melissa Hui and Mark
Applebaum.

Having been privileged to study with the
Emerson, Tokyo and Juilliard String Quartets the
St. Lawrence, are themselves passionate
educators. Since 1998 they have held the
position of Ensemble in Residence at Stanford
University. In addition to teaching in the
Department of Music the group is deeply
committed to bringing music to less traditional
venues than the classroom or concert hall. The
foursome's passion for opening up musical
arenas to players and listeners alike is evident in
their annual chamber music institute for adult
amateurs at Stanford and their many forays into
the depths of musical meaning with preeminent
music educator Robert Kapilow.

Whether at Lincoln Center or an
elementary school classroom, the St. Lawrence
players maintain a strong desire to share the
wonders of chamber music with their listeners,
a characteristic of the foursome that has led them
to a more informal performance style than one
might expect from chamber musicians. Alex Ross
of The New Yorker Magazine writes, "the St.
Lawrence are remarkable not simply for the qual-
ity of their music making, exalted as it is, but for
the joy they take in the act of connection."

The St. Lawrence String Quartet records
exclusively for EMI/ANGEL

JUDY LOMAN is a graduate of the Curtis
Institute of Music, where she studied with the
celebrated harpist, Carlos Salzedo. She has been
Principal harpist with the Toronto Symphony
since 1960, and has appeared as a soloist with
that organization in Canada, the United States,
and Europe. Ms. Loman's performances are
heard frequently on CBC Radio and she has
recorded for RCA, Columbia, CBC, Centre Disc,
Aquitaine, Marquis and Naxos. Her playing has
been featured in two films by Rhombus Media,
presented by the CBC and TV Ontario. She is a
recipient of Canada's Juno Award for best
classical recording, and the Canada Council's
Grand Prix du Disc. She has adjudicated at The
International Harp Contest of Israel and the USA
International Harp Competition. Ms. Loman
teaches Harp at the University of Toronto, and

has recently been appointed harp instructor at
the Curtis Institute of Music in Philadelphia.

SCOTT ST. JOHN is a graduate of the Curtis
Institute and a prize-winner of numerous
competitions and awards, including a 2003
Avery Fisher Career Grant. He has delighted
recital and chamber audiences around the globe,
stretching from Japan’s Casals Hall to New
York’s Lincoln Center and Carnegie Hall. Scott
teaches violin, viola and chamber music at the
University of Toronto, where he also
coordinates the chamber music programme.
Salon Parisien, on CBC Records, is his newest
release.

CECILIA KANG is currently pursuing a
Bachelor of Music degree in clarinet
performance at the University of Toronto with
Joseph Orlowski. Top prize winner of the
woodwind category at the Toronto Kiwanis
Music Festival, the Ontario Music Festival and
the Canadian Music Competitions, Cecilia has
also been featured as soloist with the Guelph
Symphony Orchestra and the Cathedral Bluffs
Symphony Orchestra. She has participated in

music festivals at the Banff Center for the Arts,
the Orford Arts Center and Aria International
Academy of Music and has also had the
opportunity to play in master classes of Yehuda
Gilad, Ricardo Morales, James Campbell, and
Michael Rusinek, among others. Cecilia looks
forward to touring across the country with the
National Youth Orchestra of Canada this
summer.

AMY LIN is currently a fourth year student at
the University of Toronto Faculty of Music
studying with Nora Shulman. She has competed
successfully at the Kiwanis Music Festival and
has received scholarships from the Canadian
Music Competitions, the Royal Conservatory of
Music, the Toronto Musicians' Association and
the University of Toronto. She has appeared as
soloist with the Earl Haig Secondary School
Symphony Orchestra, the EHSS Chamber String,
with whom she toured Vienna and Amsterdam,
the Toronto Chinese Artists Youth Orchestra, the
Toronto Flute Choir, and the Canadian
Sinfonietta, with whom she premiered a work
by R. Maksimovic.

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. NIVERSITY OF TORONTO FAGULTY OF MUSIC
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Conteris | Lecreres | Mawer Claaes

Highlights:
International Bach Festival with Helmuth Rilling,

Berlin Philharmonic Wind Quintet,
St. Lawrence Quartet, Borromeo Quartet

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. ALE anys VIOLIN Sarah Nematatlah VIOLIN Stern Lee VIOLA Rebecca Wenham CELLO
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PROGRAM
Haydn Quartetin & minor, Op. 20 No, 5
& © Ravel Quartet in F major
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COLI

‘MUSIC Tuesday, April 26, 2005
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NV)

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